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TEXT OF INTRODUCTION OF THE EXHIBITION CATALOGUE
After an initial meeting with Jaafar Akil in 2007, following an invitation in December 2008 produced by the Moroccan Association of Photographic Art (AMAP, Meknes) to gallery NegPos to participate in the 13th National Salon of Photographic Art (Rabat). From March to July 2010, it was the turn of Moroccan photographers exhibiting at Nimes and reinforce these early exchanges. Balance and mutual esteem, passion for photography, the desire to meet across borders, feed the root dialogue. The photograph is in Morocco for several years now in full swing and it is no coincidence that she ended up with recently that Iran's first line of a promising market in the last exhibition galleries PARIS PHOTO.
Quality, diversity, commitment, radical views, arguments attesting to the richness of Moroccan contemporary photography abound. And it would be futile to try to distinguish a photograph from the outside produced by photographers of the Moroccan diaspora European supposedly more connected to contemporary movements, a photograph of the Moroccan interior least abreast of trends. Here there is no hierarchy of values, both qualitatively and coexist harmoniously, and one can not define what those authors who is established in Morocco and who is not.
human being and the city are two of the anchors of the most obvious common photographers we represent in our respective structures. And there is no chance that the AMAP and NEGPOS is being moved closer to generate dialogue Successive that make them rub: the ratio of images to the city is one of the lines of thought shared. Thami BENKIRANE evidenced by a brilliant text which it clearly raises the attraction of the photographer and the difficulty to account for the city. The study of being and attachment to the human form another.
Through four exhibitions, including 3 singles, which are eclectic skyline of 3 major cities of Morocco: Tangier, Fez and Marrakesh, and a collective, which sets out to address the significant concern of the situation body and be Moroccan, our intention is to raise a piece of sail to learn more about photography in this country.
Tangier is the secret city and appealing as the Tangier poetizes OUETASSI Rashid in his images in black and white. Worthy heir of the great documentary photography documentary photography lovingly OUETASSI his city in its innermost recesses. Marrakech is the Jemaa El Fna becomes, through the eyes of Hassan Nadim extraordinary scene, a scene of everyday life. Instead of brewing, ancient forum, the place to space limits, if any, changes to a device delivering an infinity imaged. On the real sliding into abyss of spooky, photographs NADIM function as intense pictorial artifacts.
The Medina of Fez, in turn captured by the keen eye of Thami Benkirane, this is fun area where the photographer can play freely in the composition, masterly in this case, all in subtle and cleverly designed graphic.
Taking off in the flesh and being, the exhibition BODY addresses various states of our entry in the world. The father figure in AKIL Jaâfar binding wire duplication. The absence and the memory of the late overlap in a conceptual test at once tender and solemn. The whirling, shimmering body of musicians and dancers and photographed by Miloud STIRA Mohammed MALI us back to the trance induced by percussion Gnawa. The music of Morocco identity is being split by their prism, interpretation and an extraordinary visual experience. Fatima MAZMOUZ is looking for an identity, hybrid rocker. Two sets of force jubilant that question the status of women, relative to the body, traditions and stereotypes. Nour Eddine El GHOUMARRI and Karima HAJJI with an infinite sweetness, from their respective positions, describe what emerges from the encounter with the other. Driven not a clear and deep love of humanity, they reflect the potential offered by a sensitive face photographed directly. Their photography is without primers, natural way to think that Richard Avedon's portrait as a translation of the personality and soul of his subject: "I asked a series of" no ": not the pretty lights, not too apparent compositions, no to the seduction of persons or narration. A posing session is an exchange of emotions. The image arises from the meeting of these two emotions. (Richard Avedon).
Free electron and unique photographer representative NEGPOS in this absolute Moroccan series proposed by Claude CORBIER plays counterpoint "satelittaire" visions of the "inside" of Moroccan photographers. It recognizes the now proven, compelling and radical alterations of reality that characterizes it, hallucinatory visions carry a desire also supported here by a title evoking a destination unsatisfied "Meanwhile Tangier.
Tangier direction of a premonitory next venue for our vis-à-vis ultramarine?
Finally and most concerned, theoretical interventions Kawtar Illoul and Fatima MAZMOUZ, meetings with photographers all exhibitors, will feed the discussions that follow the various openings.
Continuing its mission to intervene in the sociocultural context of urban social cohesion contract, joining the dynamic Plan Espoir Banlieue, this event will provide NEGPOS accompanied visits and introductory courses in digital photography for youth districts of the North and ZUP Mas Mingue.
Until next step of this dialogue in pictures NEGPOS is proud to offer programming to excellence as always. With pleasure to partner again with AMAP to share and disseminate what unites us: a passion for photography. NEGPOS thank the partners of this operation: the city of Nimes, the Conseil Général du Gard, Languedoc Roussillon Regional Council, the DRAC Languedoc Roussillon, ACSE, the Society of Authors Still Images (SAIF), the fnac de Nimes, the Regional Council of Languedoc Roussillon Muslim Faith (CRCM LR) and the Community Council Moroccan Abroad (CCME).
Far from a stereotypical thinking that would oblige photographers from the Maghreb to the limited use of images, far from the colonialist reflexes, which are high which is just next door, we wish to state here that it is time establish new cultural centrality. (Blurb Patrice LOUBON)
Quality, diversity, commitment, radical views, arguments attesting to the richness of Moroccan contemporary photography abound. And it would be futile to try to distinguish a photograph from the outside produced by photographers of the Moroccan diaspora European supposedly more connected to contemporary movements, a photograph of the Moroccan interior least abreast of trends. Here there is no hierarchy of values, both qualitatively and coexist harmoniously, and one can not define what those authors who is established in Morocco and who is not.
human being and the city are two of the anchors of the most obvious common photographers we represent in our respective structures. And there is no chance that the AMAP and NEGPOS is being moved closer to generate dialogue Successive that make them rub: the ratio of images to the city is one of the lines of thought shared. Thami BENKIRANE evidenced by a brilliant text which it clearly raises the attraction of the photographer and the difficulty to account for the city. The study of being and attachment to the human form another.
Through four exhibitions, including 3 singles, which are eclectic skyline of 3 major cities of Morocco: Tangier, Fez and Marrakesh, and a collective, which sets out to address the significant concern of the situation body and be Moroccan, our intention is to raise a piece of sail to learn more about photography in this country.
Tangier is the secret city and appealing as the Tangier poetizes OUETASSI Rashid in his images in black and white. Worthy heir of the great documentary photography documentary photography lovingly OUETASSI his city in its innermost recesses. Marrakech is the Jemaa El Fna becomes, through the eyes of Hassan Nadim extraordinary scene, a scene of everyday life. Instead of brewing, ancient forum, the place to space limits, if any, changes to a device delivering an infinity imaged. On the real sliding into abyss of spooky, photographs NADIM function as intense pictorial artifacts.
The Medina of Fez, in turn captured by the keen eye of Thami Benkirane, this is fun area where the photographer can play freely in the composition, masterly in this case, all in subtle and cleverly designed graphic.
Taking off in the flesh and being, the exhibition BODY addresses various states of our entry in the world. The father figure in AKIL Jaâfar binding wire duplication. The absence and the memory of the late overlap in a conceptual test at once tender and solemn. The whirling, shimmering body of musicians and dancers and photographed by Miloud STIRA Mohammed MALI us back to the trance induced by percussion Gnawa. The music of Morocco identity is being split by their prism, interpretation and an extraordinary visual experience. Fatima MAZMOUZ is looking for an identity, hybrid rocker. Two sets of force jubilant that question the status of women, relative to the body, traditions and stereotypes. Nour Eddine El GHOUMARRI and Karima HAJJI with an infinite sweetness, from their respective positions, describe what emerges from the encounter with the other. Driven not a clear and deep love of humanity, they reflect the potential offered by a sensitive face photographed directly. Their photography is without primers, natural way to think that Richard Avedon's portrait as a translation of the personality and soul of his subject: "I asked a series of" no ": not the pretty lights, not too apparent compositions, no to the seduction of persons or narration. A posing session is an exchange of emotions. The image arises from the meeting of these two emotions. (Richard Avedon).
Free electron and unique photographer representative NEGPOS in this absolute Moroccan series proposed by Claude CORBIER plays counterpoint "satelittaire" visions of the "inside" of Moroccan photographers. It recognizes the now proven, compelling and radical alterations of reality that characterizes it, hallucinatory visions carry a desire also supported here by a title evoking a destination unsatisfied "Meanwhile Tangier.
Tangier direction of a premonitory next venue for our vis-à-vis ultramarine?
Finally and most concerned, theoretical interventions Kawtar Illoul and Fatima MAZMOUZ, meetings with photographers all exhibitors, will feed the discussions that follow the various openings.
Continuing its mission to intervene in the sociocultural context of urban social cohesion contract, joining the dynamic Plan Espoir Banlieue, this event will provide NEGPOS accompanied visits and introductory courses in digital photography for youth districts of the North and ZUP Mas Mingue.
Until next step of this dialogue in pictures NEGPOS is proud to offer programming to excellence as always. With pleasure to partner again with AMAP to share and disseminate what unites us: a passion for photography. NEGPOS thank the partners of this operation: the city of Nimes, the Conseil Général du Gard, Languedoc Roussillon Regional Council, the DRAC Languedoc Roussillon, ACSE, the Society of Authors Still Images (SAIF), the fnac de Nimes, the Regional Council of Languedoc Roussillon Muslim Faith (CRCM LR) and the Community Council Moroccan Abroad (CCME).
Far from a stereotypical thinking that would oblige photographers from the Maghreb to the limited use of images, far from the colonialist reflexes, which are high which is just next door, we wish to state here that it is time establish new cultural centrality. (Blurb Patrice LOUBON)
